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Vega Farms, a California-based food producer, has voluntarily recalled Vega Farms-branded in-shell eggs due to a Salmonella outbreak that has sickened more than 60 people and led to more than a dozen hospitalizations. Heres what you need to know about the outbreak, impacted products and retailers, and what to do if you have the recalled eggs in your possession: How many people got sick? In a notice posted on Friday, December 12, the California Department of Public Health (CDPH) warns businesses and consumers to avoid eating, serving, or selling recalled in-shell Vega Farms eggs. According to the agency, 63 California residents have reported illnesses linked to the Salmonella outbreak, and 13 people have been hospitalized. Fortunately, no deaths have been reported. During an inspection, the California Department of Food and Agriculture (CDFA) and CDPH collected egg and environmental samples from Vega Farms. Multiple samples tested positive for Salmonella. At least one sample matched the strain found in sick individuals. Which products are impacted by the recall? Here are more details about the recalled product: Brand: Vega Farms Product description: Brown eggs Julian Date (3-digit number from 001 to 365 corresponding to the day of the year): 328 and prior Sell-by dates: 12-22-25 and prior Retail package sizes: 1-dozen cartons; 30-egg flats Food service packaging: 15-dozen cases (contains 6 flats of 30 eggs each) The CDPH has images of the product labels on its website. Where were the recalled eggs sold? According to the CDPH, the recalled Vega Farms eggs were distributed to restaurants, grocery stores, co-ops, and at farmers markets in the Sacramento and Davis areas of Northern California. State health officials have published a retail distribution list with a handful of impacted retailers. Cafe Bernado, 234 D St., Davis, CA 95616 Cafe Bernado, 2730 Capitol Ave., Sacramento, CA 95816 Cafe Bernado, 515 Pavilions Ln., Sacramento, CA 95825 Davis Foods Co-op, 620 G St, Davis, CA 95616 Paragarys, 1403 28th St., Sacramento, CA 95816 Ristorante Piatti, 571 Pavilions Ln.k Sacramento, CA 95825 Sacramento Foods Co-op, 2820 R St., Sacramento, CA 95816 Sage Market, 201 Sage St., Davis, CA 95616 Segundo Market, One Shields Ave., Davis, CA 95616 Taylors Market, 2900 Freeport Blvd., Sacramento, CA 95818 Tercero DC, 237 Tercero Hall Circle, Davis, CA 95616 UC Davis Cuarto Market, 550 Oxford Circle #1ST, Davis, CA 95616 Dont consume the recalled product Recalled products should be thrown away or returned to the place of purchase for a refund. Businesses shouldnt sell recalled products. What’s more, any items or surfaces that have come in contact with the recalled product should be washed and sanitized. If youve become sick after eating recalled eggs, contact a healthcare provider. If you see the recalled product for sale, call the CDPH Complaint Hotline at 800-495-3232 or submit an online report through CDPHs Food and Drug Branch. If you have any questions about the recall, you can call Ramsi Vega at (530) 400-9505 from 9 a.m. to 4 p.m. What is Salmonella infection? Salmonella infection is a bacterial disease. Humans usually become infected through contaminated water or food, according to the Mayo Clinic. According to the Centers for Disease Control and Prevention (CDC), Salmonella infection symptoms typically begin six hours to six days after infection. The most common symptoms are diarrhea, fever, and stomach cramps. Illness typically lasts four to seven days. Most people recover without medical treatment. However, some people are more likely to get very sick and may require medical treatment. This includes children under 5, adults 65 and older, and people with weakened immune systems. Why does this sound familiar? Salmonella-related egg recalls have been in the headlines a lot this year. Although this latest recall is limited to California, others have impacted nationally distributed products. In October, the Food and Drug Administration (FDA) said that more than six million eggs from an Arkansas-based food producer were recalled due to Salmonella concerns. And over the summer, nearly 100 people across 14 states were sickened by Salmonella linked to eggs.
Category:
E-Commerce
On a recent December day, Mark Latino and a handful of his workers spun sheets of vinyl into tinsel for Christmas tree branches. They worked on a custom-made machine that’s nearly a century old, churning out strands of bright silver tinsel along its 35-foot (10-meter) length.Latino is the CEO of Lee Display, a Fairfield, California-based company that his great-grandfather founded in 1902. Back then, it specialized in handmade velvet and silk flowers for hats. Now, it’s one of the only companies in the United States that still makes artificial Christmas trees, producing around 10,000 each year. Tariffs and trees Tariffs shone a twinkling light this year on fake Christmas trees and the extent to which America depends on other countries for its plastic fir trees.Prices for fake trees rose 10% to 15% this year due to the new import taxes, according to the American Christmas Tree Association, a trade group. Tree sellers cut their orders and paid higher tariffs for the stock they brought in.Despite those issues, tree companies say they aren’t likely to shift large-scale production back to the U.S. after decades in Asia. Fake trees are labor-intensive and require holiday lights and other components the U.S. doesn’t make, said Chris Butler, CEO of the National Tree Co., which sells more than 1 million artificial trees each year.Americans are also very price-sensitive when it comes to holiday décor, Butler said.“Putting a ‘Made in the U.S.A.’ sticker on the box won’t do any good if it’s twice as expensive,” Butler said. “If it’s 20% more expensive, it won’t sell.” Americans prefer fake trees About 80% of the U.S. residents who put up a Christmas tree this year planned to use a fake one, according to the American Christmas Tree Association. That percentage has been unchanged for at least 15 years.Mac Harman, the founder and CEO of Balsam Brands, which sells hundreds of thousands of Balsam Hill trees each year, said Americans like to set up their trees on Thanksgiving and leave them up for weeks, which dries out fresh-cut trees. Others prefer fake trees because they’re allergic to the mold spores on real trees, he said.Americans also like convenience; 80% of the fake trees sold each year have the lights already strung on them, Butler said.That preference is one reason artificial tree production shifted away from the U.S., first to Thailand in the early 1990s and to China about a decade later. Winding lights around the branches is time-consuming and tedious, Harman said.“Where are we going to get 15,000 people in America who want to string lights on Christmas trees?” Harman said. Labor-intensive work It takes an hour or two to make an artificial Christmas tree, from molding and cutting the needles to tying branches together and attaching the lights, Butler said. Workers in China, where 90% of fake trees are made, are paid $1.50 to $2 per hour, he said.Harman said the workers who wrap the lights on Balsam Hill’s trees are so efficient “it’s like watching an Olympian.”One of Balsam Brands’ Chinese partners employs 15,000 to 20,000 people; another in Indonesia has up to 10,000, he said. Many are seasonal workers, since orders for Christmas décor slow down between October and February.Balsam Brands, which is based in Redwood City, California, studied whether it could make faux trees in Ohio during the first Trump administration, when President Donald Trump threatened but eventually delayed tariffs on imported Christmas décor, Harman said.The company hired consultants and considered automating some work. But it concluded a tree that currently sells for $800 would cost $3,000 if it was made in the U.S. Harman said Balsam couldn’t even find a U.S. company to make the pair of gloves it includes in each box for fluffing out branches. American-made trees Lee Display employs three or four people for most of the year, adding more during the holiday rush to help with installations and displays. About half its business is making custom displays for companies such as Macy’s, while the other half is selling directly to consumers.Latino said he likes that he can produce an order quickly instead of waiting for it to ship from overseas.“You have more control over it. I like to think that everything here is either my fault or my mistake or my careful planning and skill,” he said.The tariffs still affected Lee Display. Latino’s son James, who leads business development and marketing, said the company didn’t import lights or decorations from China this year and relied on items it already had in stock. It’s getting low on lights, so next year it will have to pay more to import them, he said. Responding to tariffs Some artificial tree companies are branching out so they’re less reliant on China. National Tree Co., which is based in Cranford, New Jersey, moved some manufacturing to Cambodia in 2024, and could source all its trees from outside China by next year if it wanted to, Butler said.But diversifying their suppliers didn’t make those companies immune from the impact of tariffs either. In April, the Trump administration threatened a 49% tariff against products from Cambodia. That rate was eventually reduced to 19%. Tariffs on artificial trees from China also bounced around but now average 20%, according to the American Christmas Tree Association.Butler said his company imported fewer trees this year and also raised prices by 10%. He said he used a lot of the money to offer customer discounts since demand was weak because of consumer worries about the economy.“It’s a discretionary item. People say, ‘I can wait one more year,'” Butler said.Balsam Brands cut its workforce by 10%, canceled travel, froze raises and even stopped serving lunch in the office once a week to absorb the impact of tariffs, Harman said. It also raised tree prices by 10%.Harman said his sales are down 5% to 10% this year in the U.S. but up 10% or more in Germany, Australia, Canada and France. That tells him tariffs have decreased U.S. demand.“If a merry Christmas is measured in how many decorations people put up, by that measure it’s going to be a slightly less merry Christmas,” he said. AP Video Journalist Terry Chea contributed from Fairfield, California. Dee-Ann Durbin, AP Business Writer
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E-Commerce
What’s up, type nerds? Fast Company’s latest print issue features some of the brightest minds in AI, and creative director Mike Schnaidt wanted to choose a typeface that looked futuristic. So go pick up a copy now.
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E-Commerce
The Powerball jackpot has grown to an estimated $1.25 billion for Wednesday night’s drawing after lottery officials said no ticket matched all six numbers drawn Monday night.The U.S. has seen more than a dozen lottery jackpot prizes exceed $1 billion since 2016. Here is a look at the largest U.S. jackpots won and the places where the winning tickets were sold: $2.04 billion, Powerball, Nov. 7, 2022. The winning ticket was sold at a Los Angeles-area gas station. $1.787 billion, Powerball, Sept. 6, 2025. The winning tickets were sold in Missouri and Texas. $1.765 billion, Powerball, Oct. 11, 2023. The winning ticket was sold at a liquor store in a tiny California mountain town. $1.602 billion, Mega Millions, Aug. 8, 2023. The winning ticket was sold at a supermarket in Neptune Beach, Florida. $1.586 billion, Powerball, Jan. 13, 2016. The winning tickets were sold at a Los Angeles-area convenience store, a Florida supermarket and a Tennessee grocery store. $1.537 billion, Mega Millions, Oct. 23, 2018. The winning ticket was sold at a South Carolina convenience store. $1.348 billion, Mega Millions, Jan. 13, 2023. The winning ticket was sold at a Maine gas station. $1.337 billion, Mega Millions, July 29, 2022. The winning ticket was sold at a Chicago-area gas station. $1.326 billion, Powerball, April 7, 2024. The winning ticket was sold at an Oregon convenience store. $1.269 billion, Mega Millions, Dec. 27, 2024. The winning ticket was sold at a gas station in Northern California. Associated Press
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E-Commerce
I have a confession to make. For most of my career in creative leadership roles, I have contributed to collaboration overload. I believed that bringing everyone together to swap ideas was the surest path to stronger work. If the room was full and the conversation was flowing, I assumed we were headed in the right direction. And I know Im not alone. Collaboration overload has crept into creative teams everywhereshaped by hybrid schedules, the pressure to stay visible when were apart, and a steady flow of digital tools like Slack and Teams that keep us connected but can slowly chip away at focus. Creative teams have reached a point where we are spending so much time meeting, messaging, and circling each others work that nobody has the space or clarity to actually create. Collaboration overload is not tenable. One reason is that the expectations of the next generation call for an urgent shift in how collaboration happens. Many emerging creatives want room to explore ideas independently, develop a point of view, and contribute something meaningfulnot spend their days in back-to-back meetings and endless threads. When collaboration becomes constant, it leaves no space for the kind of personal exploration that builds creative confidence. And as AI takes on more of the administrative and production parts of creative work, the value of human creativity shifts toward originality, taste, and discernment. Those qualities need room. Creatives need autonomy to imagine what AI cannot. Collaboration is nonnegotiable. But so is autonomy. Creative teams thrive when those two forces support each other rather than compete. We need to protect deep, independent thinking while using collaboration to enhance our work. What were really trying to restore is a sense of rhythm that alternates between solo thinking, ensemble critique, and restorative rest. How We Reached Collaboration Overload Collaboration overload didnt happen overnight. It gradually built up as our work patterns evolved and expectations around them shifted. Hybrid work marked a major turning point. Many teams have done an impressive job recreating the natural touchpoints of in-person creative lifequick gut checks, spontaneous critiques, and the energy that comes from simply being around each others work. However, hybrid also makes it easy for the pendulum to swing too far. Overcompensating with meetings existed long before virtual work, but now the ability to schedule, ping, or gather a group is almost effortless. In an active studio, always on is balanced by the ebb and flow of real human presence; theres a built-in rhythm that allows people to step away and actually make the work. In hybrid environments, that rhythm can be harder to sense and even more difficult to maintain. Meanwhile, our collaboration tools multiplied. Slack, Teams, Figma, Notion, Miro, Mondayeach with real utility, but each adding another stream of communication. When organizations lack clear ways of working with these tools or fail to update those norms as teams evolve, the tools can lead to fragmentation and additional layers of coordination. Its common for a creative professional to switch between three or four platforms before noon, each buzzing with activity. The tools keep us connected, but without shared habits for using them, they often create more work than clarity. This pressure is even more pronounced in service-driven work, where being responsive is part of the relationship. When clients depend on you, and you depend on each other, its easy for the expectation of availability to grow. While quick back-and-forth exchanges can spark a moment of insight, most ideas need a quieter runway to take shape. Cross-disciplinary work added another layer of complexity. Modern creative teams bring together designers, strategists, writers, technologists, and producersoften across time zones. While diversity is a strength, without a clear structure, it can blur boundaries. When everyone can contribute to everything, eventually, everyone does. What begins as good-faith instinct can quickly lead to fatigue. Clear ownership becomes harder to define. And underneath it all lies a cultural belief: Collaboration is inherently good. Its central to how we see ourselves as a creative organization. Its part of our culture, our language, our identity. But when something becomes a given, we rarely pause to intentionally shape it. Instead, the instinct becomes moremore conversations, more people, more touches. And when collaboration becomes the default mode, the work can lose the focus it needs to move forward. Restoring Creative Rhythm The answer is not less collaboration, but better rhythm. Creative rhythm is the intentional pattern that helps teams move fluidly between independence and interdependence. Its the cadence that supports both solo brilliance and ensemble performance. And it works because its shaped with care, not left to chance. Creative rhythm has three core elements. 1. Protecting Deep, Independent Thinking Every strong project begins with someone going deep. It might be a strategist absorbing context, a designer exploring visual possibilities, or a writer shaping the early throughline of a story. Depth takes time. It takes quiet. And it takes the freedom to try and fail without an audience. Leaders can support this by giving teams dedicated focus timeand making it visibly protected. No meetings. No pings. No expectation of instant replies. Just as important is helping people understand how a project will operate before it begins. Newer hires, freelancers, and younger creatives often benefit from clarity around collaboration style, decision owners, and when to bring ideas into the room. Not all questions need to happen in front of the entire group. Sometimes a quick one-on-one discussion moves the work forward more cleanly and avoids the swirl that happens when something still in progress is put in front of the whole team. Clear ownership models, such as Responsible, Accountable, Consulted, Informed (RACI) or simple lead/support distinctions, also reduce the urge for everyone to hover. Ownership creates space. 2. Designing Purposeful Ensemble Moments Not all collaboration is equal. The most meaningful collaboration occurs when the team comes together with purpose. These ensemble moments give the work dimension by exposing it to different perspectives and the healthy tension that fuels creativity. Effective ensemble collaboration is focused, time-bound, and grounded in psychological safety. Teams should feel at ease challenging ideas without risking personal conflict. This kind of task-oriented disagreement increases creativity and results in better outcomes. The point is not harmony. The point is healthy friction that moves the work forward. Leaders can also improve ensemble moments by reducing their frequency but increasing their quality: short, well-run critiques; workshops with a clear objective; sharing sessions that come after deep independent thinking, not before it. Creativity needs both divergence and convergence. Rhythm is what allows them to coexist. 3. Building Periods of Rest and Reset Rest is often an overlooked part of creative rhythm. Creative teams need periods where nothing urgent is expectedmoments when minds can wander, connect dots, or simply breathe. Constant coordination drains curiosity. Rest restores it. This is where leaders can model healthier norms blocking focus days, encouraging asynchronous progress over real-time responses, limiting the number of platforms teams are expected to monitor. Rest isnt a luxury. Its a requirement for sustained creative performance. What Creative Rhythm Looks Like in Practice Creative rhythm represents a shared understanding of how a team works together. In practice, it looks like: Project phases that intentionally make room for independent development before bringing the group together to synthesize and refine Designated owners who drive work forward without constant supervision Clear checkpoints that prevent unnecessary consensus Critiques that foster momentum rather than hinder it Fewer meetings, conducted with greater purpose and clearer outcomes A culture that values autonomy as much as alignment When teams work in sync, they dont constantly switch mental modes. They have time to reflect and room to breathe. Ensemble moments feel invigorating because theyre not constant. Guarding the Conditions for Creativity Over the past few years, Ive learned that part of my role is to protect peoples creative focus with as much care as I guide the work itself. I still believe in collaboration. I always will. However, Ive come to recognize the need for curated collaboration, the kind that brings the right people together at the right moment, not everyone at every moment. I believe in stepping back as much as stepping in. And I believe that helping people protect their alone time is one of the most important things a creative leader can do.
Category:
E-Commerce
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